US EPA, Pesticide Product Label, BORASOL-WP, 11/30/2012

Total Page:16

File Type:pdf, Size:1020Kb

US EPA, Pesticide Product Label, BORASOL-WP, 11/30/2012 2, , UNITED STATES ENVIRONMENTAL PROTECTION AGENCY WASHINGTON, D.C. 20460 | V '*' PKDl*4 OFFICE Of < I1KMICA1 SAFKTY NOV 3 0 2012. AND HOLI.l TION PRKVENTION Mr. Vincent Opaskar Quality B orate Company 3690 Orange Place #495 Cleveland, Ohio 44122 Subject: Label Amendment BoraSol-WP® EPA Registration Number: 69529-2 Application Dated: July 19, 2012 Decision: 472442 Dear Mr. Opaskar: The label referred to above, submitted in connection with registration under the Federal Insecticide, Fungicide, and Rodenticide Act, as amended, is acceptable. A stamped copy is enclosed for your records. If you have any questions, please contact Melody Banks on 703 305-5413 or via E-mail @ [email protected]. Sincerely, Richard Gebken Insecticide Branch Product Manager Registration Division (7504P) Enclosure: Stamped Accepted Copy of Product Label MASTER LABEL BoraSol-WP FOR PROTECTIVE AND PREVENTATIVE TREATMENTS OF WOOD AGAINST WOOD DESTROYING INSECTS AND WOOD DECAY FUNGI. FOR REMEDIAL CONTROL OF TERMITES, WOOD BORING INSECTS, FUNGAL WOOD DECAY IN INFESTED WOOD. FOR BRUSH, SPRAY, PRESSURE AND DIP-DIFFUSION TREATMENTS OF WOOD AND WOOD PRODUCTS. ACCEPTED ACTIVE INGREDIENT: Disodium Octaborate Tetrahydrate (Na2B8Oi3 • 4H2O).... 98% INERT INGREDIENTS: 2% TOTAL: 100% (Product contains 2% H2O-absorbed moisture) SUBLABEL A: Residential Users and Professional Pest Control Operators (PCO) SUBLABEL B: Industrial Users such as Pressure Treaters and Dip Diffusion Operators Keep out of Reach of Children . Caution EPA Reg. No. 69529-2 EPA Est. No. 79740-ARG-001 (Industrial) 85875-OH-001 (Residential) Manufactured for Quality Borate Co., 3690 Orange Place, #495 Cleveland, OH 44122 Phone: 1-866-BORATES (866-267-2837) Net Contents: Residential Use and Professional Pest Control Operators (PCO): 1.5 Ib. bag, 7.5 Ib. bag, 11.25 Ib. bag, 22.5 Ib. bag Industrial Use such as Pressure Treaters and Dip Diffusion Operators: 50 Ib. bag, 2000 Ib. Supersack "•: ••• < SUBLABEL A: Residential and Pest Control Operators Usage FOR PROTECTIVE AND PREVENTATIVE TREATMENTS OF WOOD AGAINST WOOD DESTROYING INSECTS AND WOOD DECAY FUNGI. FOR REMEDIAL CONTROL OF TERMITES, WOOD BORING INSECTS AND FUNGAL WOOD DECAY IN INFESTED WOOD. BoraSol-WP® ACTIVE INGREDIENT: Disodium Octaborate Tetrahydrate (Na2B8Oi3 • 4H2O) ..... 98% INERT INGREDIENTS: ........................................ 2% TOTAL: 100% (Product contains 2% H2O-absorbed moisture) KEEP OUT OF REACH OF CHILDREN CAUTION Manufactured for Quality Borate Co., 3690 Orange Place, #495 Cleveland, OH 44122 Phone: 1-866-BORATES (866-267-2837) EPA REG. No. 69529-2 EPAEST.No. 85875-OH-001 NET CONTENTS: 1.5 Ibs, 7.5 Ibs, 11.25 Ibs, 22.5 Ibs FIRST AID If swallowed -Call poison control center or doctor immediately for treatment advice. -Have person sip a glass of water if able to swallow. -Do not induce vomiting unless told to do so by the poison control center or doctor. -Do not give anything by mouth to an unconscious person. -Hold eye open and rinse slowly and gently with water for 15-20 If in eyes minutes. -Remove contact lenses, if present, after the first 5 mibutes, thes continue rinsing eye. i -Call a poison control center or doctor for treatment advice. - Rinse skin with plenty of water for 15-20 minutes. ; , , If on skin or clothing -Take off contaminated clothing. 2 ( -Call poison control center or doctor for additional treatment advice. Move person to fresh air. If Inhaled -If person is not breathing, call 911 or an ambulance, then give artificial respiration, preferably by mouth-to -mouth, if possible -Call a poison control center or doctor for further advice. Have the product or label with you when calling a Poison Control Center or Doctor or going for treatment. In case of emergency, for additional information call (866-267-2837). For use by Individuals/Firms licensed or registered by the state to apply termiticide products. States may have more restrictive requirements regarding qualifications of persons using this product. PRECAUTIONARY STATEMENTS HAZARDS TO HUMANS AND DOMESTIC ANIMALS Harmful if swallowed. Avoid contact with eyes. Wash thoroughly after handling. Avoid contamination of food and feed. Do not leave container where children or animals may gain access. CAUTION PERSONAL PROTECTION EQUIPMENT Applicators and other handlers must wear a long-sleeved shirt and long pants which cover the entire arm and leg skin surface, socks, water resistant boots, chemical resistant gloves, and chemical resistant protective eyewear - splash goggles are recommended. When applying this product in confined spaces such as crawl spaces and attics, a ventilation exhaust system is required. If this is impractical, the use of a NIOSH approved respirator designed for dusts/mists is required. Clean spills and over-spray with a clean damp cloth or use an absorbent. Dispose of spill as required by state guidelines and laws ENVIRONMENTAL HAZARDS This pesticide is toxic to fish and wildlife. Do not contaminate water when cleaning equipment or disposing of equipment wash waters. Do not discharge effluent containing this product into lakes, streams, ponds, estuaries, oceans or other water unless in accordance with the requirements of a National Pollutant Discharge Elimination System (NPDES) permit and the permitting authority has been notified hi writing prior to discharge. Do not discharge effluent containing this product to sewer systems without previously notifying the local sewage treatment plant authority. For guidance contact your State Water Board or Regional Office of the EPA. Do not apply directly te water, or to areas where surface water is present or to intertidal areas below the mean high-water mark. i PHYSICAL OR CHEMICAL HAZARDS - i1 • i • •. i i ' BoraSol-WP® is stable a room temperature in closed containers under normal storage conditions. When heated it loses water and forms Boric Oxide and Sodium Oxide. Avoid high temperatures (> 250°F), dust generation and exposure to moist air or water. Reaction with strong reducing agents will generate hydrogen gas, which could create an explosion hazard. DIRECTIONS FOR USE; It is a violation of Federal Law to use this product in a manner inconsistent with its labeling. Read and follow all applicable directions and precautions on this label before using. Restrictions: • Exposed food should be covered or removed prior to the application. • Do not apply to foamboard. • Do not use in edible product areas of food processing plants or on counter tops and other surfaces where food is prepared. • Do not use in serving areas where food is exposed. • Do not contaminate feed, water or food. • Do not use to treat lumber that will contact soil or be exposed to leaching by weather. • This product can be tank mixed with other pesticide products. • In the home, remove or cover exposed food, food handling surfaces, and cooking utensils. Wash thoroughly after treatment and before reuse. • When spraying overhead interior areas of homes, apartments buildings, and all other dwellings, cover or protect all surfaces below the area being treated with plastic sheeting or other material which can be disposed of if contamination from dripping or splashing occurs. • Children and pets should not be in treatment area until after application is completed. • Do not treat pets with this product. Avoid contamination of feed and foodstuff. Avoid contamination of ornamental plants. Use of this product does not substitute for mechanical alteration, soil treatment or foundation treatment, but is merely a supplement that is used as a preventative or remedial treatment to protect treated wood only. GENERAL INFORMATION BoraSol-WP is a water-soluble inorganic borate salt with termiticidal properties. BoraSol-WP® is effective for the protection and remedial treatment of wood against wood-destroying organisms, including the target pests listed below. This product can be used for remedial treatment of wood Infested with target organisms, for preventative treatment of wood in existing structures (before signs of infestation), for treatment of wood during construction. < i ' BoraSol-WP® will penetrate the wood to the heartwood, protecting the wood from termite and other wood destroying insects. BoraSol-WP® may be tank-mixed with an approved pesticide or an approved fungicide/moldicide. BoraSol-WP® will protect wood from both white rot and brown rot and other wood rot fungi. Tank mixing with fungicides or pesticides must follow any label instructions and prec autions ( , TARGET ORGANISMS BoraSol-WP is effective for treatment of wood (and wood-foam composite structural components) against wood-boring insects, other insects and wood decay fungi. Subterranean Termites Powderpost Beetles Reticulitermes, Heterotermes, Lyctidae, Anobiids, Coptotermes (Formosan) Bostrichidae, Cerambycidae Dampwood Termites Wood Decay Fungi Zootermopsis Brown Rot (Geophylium trabea) Drywood Termites White Rot (Trametes versicolor) Ants: Red Fire, Pharaoh, Argentine, other wood rot fungi Carpenter Ants (Camponotus) German Cockroaches Silverfish This label is for End-Use Applications Only. WOOD BoraSol-WP is recommended for wood materials in accordance with the specific treatment methods described below. BoraSol-WP® is effective for interior and exterior wood (and wood-foam composite structural components) that will be protected from rain and not in direct contact with soil. Types of wood include, but are not limited to, all types of lumber, logs, and plywood. This product is toxic to wood-destroying insects, but surface etching of treated wood may occur. REMEDIAL
Recommended publications
  • The Developmentof Early Imperial Dress from the Tetrachs to The
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Development of Early Imperial Dress from the Tetrarchs to the Herakleian Dynasty General Introduction The emperor, as head of state, was the most important and powerful individual in the land; his official portraits and to a lesser extent those of the empress were depicted throughout the realm. His image occurred most frequently on small items issued by government officials such as coins, market weights, seals, imperial standards, medallions displayed beside new consuls, and even on the inkwells of public officials. As a sign of their loyalty, his portrait sometimes appeared on the patches sown on his supporters’ garments, embossed on their shields and armour or even embellishing their jewelry. Among more expensive forms of art, the emperor’s portrait appeared in illuminated manuscripts, mosaics, and wall paintings such as murals and donor portraits. Several types of statues bore his likeness, including those worshiped as part of the imperial cult, examples erected by public 1 officials, and individual or family groupings placed in buildings, gardens and even harbours at the emperor’s personal expense.
    [Show full text]
  • Sabellic Textile Terminology Peder Flemestad Lund University, Sweden
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 Sabellic Textile Terminology Peder Flemestad Lund University, Sweden Birgit Anette Olsen University of Copenhagen Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Flemestad, Peder and Olsen, Birgit Anette, "Sabellic Textile Terminology" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 13. http://digitalcommons.unl.edu/texterm/13 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Sabellic Textile Terminology Peder Flemestad, Lund University, Sweden Birgit Anette Olsen, University of Copenhagen In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch (Lincoln, NE: Zea Books, 2017), pp. 210-227 doi:10.13014/K2319T2K Copyright © 2017 Salvatore Gaspa, Cécile Michel, & Marie-Louise Nosch.
    [Show full text]
  • Roman Clothing and Fashion
    ROMAN CLOTHING AND FASHION ALEXANDRA CROOM This edition published 2010. This electronic edition published 2012. Amberley Publishing The Hill, Stroud, Gloucestershire GL5 4EP www.amberley-books.com Copyright © Alexandra Croom 2010, 2012 The right of Alexandra Croom to be identified as the Author of this work has been asserted in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing from the Publishers. British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. ISBN 978-1-84868-977-0 (PRINT) ISBN 978-1-4456-1244-7 (e-BOOK) CONTENTS List of Illustrations Acknowledgements 1 - Introduction 2 - Cloths and Colour 3 - Men’s Clothing 4 - Women’s Clothing 5 - Children’s Clothing 6 - Beauty 7 - Provincial Clothing 8 - Conclusions Pictures Section Glossary References Weaving Terminology Bibliography LIST OF ILLUSTRATIONS TEXT FIGURES 1 - The costume of goddesses 2 - Woman spinning 3 - Tunic forms 4 - A clothes press 5 - Tunics of the first and second centuries 6 - Tunics of the third and fourth centuries 7 - Tunic decorations 8 - Portrait of Stilicho 9 - Tunics 10 - Togas of the first to fourth centuries 11 - The ‘Brothers’ sarcophagus 12 - Togas of the fifth and sixth centuries 13
    [Show full text]
  • The Significance of Clothing Imagery in the Pauline Corpus
    Kim, Jung Hoon (1998) The significance of clothing imagery in the Pauline corpus. PhD thesis. http://theses.gla.ac.uk/4871/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] The Significance of Clothing Imagery in the Pauline Corpus by Jung Roon Kim A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy to The Faculty of Divinity The University of Glasgow June 1998 Abstract Thesis Title: The Significance of Clothing Imagery in the Pauline Corpus This thesis concentrates on clarifying the significance of the clothing imagery in the Pauline corpus. This imagery occurs in six Pauline epistles (clothing with Christ in Gal 3:27 & Rom 13:14; clothing with the new man in Col 3:9-10 & Eph 4:22-24; and clothing with the resurrection body in 1 Cor 15:49, 50-54 & 2 Cor 5:1-4). The imagery constitutes a significant aspect of Pauline theology. For the background to the Pauline clothing-metaphor, Part I looks into clothing imagery in the OT, 1 & 2 Enoch, Apocalypse of Moses, Philo, rabbinic literature, Joseph and Aseneth, The Hymn of the Pearl, Apuleius' Metamorphoses, the Roman custom of clothing, and the baptismal praxis of the ancient church.
    [Show full text]
  • Roman Clothing and Hairstyles.Pdf
    Roman Clothes When they were inside their own houses, Roman men and boys wore a tunic, which was like a long vest or shirt. This could be worn loose or belted or gathered in the middle. Toga Virilis / Toga Pura This was the toga worn by ordinary Roman citizens. It was not dyed, and so would have been a creamy, off-white colour. Toga Pulla This was a toga worn in mourning when someone had died. It could also be worn at a time of personal danger or public anxiety. It was a dark colour (usually dark grey or brown or black) Toga Picta This was only worn by military leaders who had won a great victory and were being given a triumph (procession through the streets) on their return. This toga was purple with golden embroidery. Toga Trabea This toga was decorated with purple and scarlet stripes. It was worn by Augurs (men who looked for signs from the gods which they would use to advise government officials on what they should do.) Toga Praetexta The toga worn by current and former senators(and also by boys under the age of 16). It bears the purple stripe, the width of which varies according to the wearer. Toga Candida The stark-white toga worn by candidates running for office. The English word "candidate" comes from this usage. Other items of clothing Young boys wore a good luck charm called a bulla. Men were not supposed to wear any jewellery other than a ring used to make their seal on wax.
    [Show full text]
  • Clicking Here
    ““AA EE TTOOGGAATTIIII”” SEXTILLI’S BRIEF GUIDE TO THE TOGA I ACKNOWLEDGEMENTS & FOREWORD Words of Wisdom handed down from my forefathers, And forgotten by me! “N OPEN MOUTH IS AN DEAL INSERTION POINT FOR THE FOOT. S0,3.SHOE LEATHER/ TAKE THEM OFF BEFORE OPENING YOUR MOUTH” * * * * * There could well be a resurgence of the Toga in re-enactment over the next few years. YOU HAVE BEEN WARNED! All the usual culprits get thanked, Janet, my much better half, for putting up with me, sons Mark & David for doing ’things’ to my PC so that, despite me, it still works. Also large votes of thanks, in no particular order, to Dr. Jane Malcom-Davies and Caroline Johnson both of The Costume Society (& JMD & Co.), Katina Bill of The Textile Society, Dr. A.T.Croom from the Arbeia Roman Fort, the Librarians at my County Library without whom getting odd- ball extracts from learned publications from all around the World would have been impossible, my colleagues in the RMRS for putting up with my nagging and many others whom I’ve doubtless forgotten. Thanks to you all! Ohh, before I forget. This is just a bunch of ideas’ to get things moving in the right direction [I hope]. IPSE DICIT isn’t my scene. Clive Hewitt a.k.a. Sextilli 10 April 2007 A.D. INDEX Index Subject Page Numbers Bibliography 15 Colours 14 to 16 Dimensions VIII to XI Outline Drawings Appendix II TOGATII The TOGA is making a comeback!! OK, OK - so it’s not much of comeback! However, it looks quite likely that the re-enactment scene is going to go towards Living History and away from Battle scenes.
    [Show full text]
  • Emperors Underwear Free
    FREE EMPERORS UNDERWEAR PDF Laurence Anholt,Arthur Robins | 64 pages | 29 Aug 2002 | Hachette Children's Group | 9781841214061 | English | London, United Kingdom Emperor's New Clothes | eBay Stores Clothing in ancient Rome generally comprised a short-sleeved or sleeveless, knee-length tunic for men and boys, and a longer, usually sleeved tunic for women and girls. On formal occasions, adult male citizens could wear a woolen togadraped over their tunic, and married citizen women wore a woolen mantle, known as a pallaover a stolaEmperors Underwear simple, Emperors Underwear, voluminous garment that hung to midstep. Clothing, footwear and accoutrements identified gender, status, rank and social class. This was especially apparent in the distinctive, privileged official dress Emperors Underwear magistratespriesthoods and the military. The toga was considered Rome's "national costume" but for day-to- day activities, most Romans preferred more casual, practical and comfortable clothing; the tunic, in Emperors Underwear forms, was the basic garment for all classes, both sexes and most occupations. It was Emperors Underwear made of linen, and was augmented as necessary with underwear, or with various kinds of cold-or-wet weather wear, such as knee-breeches for men, and cloaks, coats and hats. In colder parts of the empire, full length trousers were worn. Most urban Romans wore shoes, slippers, boots or sandals of various types; in the countryside, some wore clogs. Most clothing was simple in structure and basic form, and its production required minimal cutting and tailoring, but all was produced by hand and every process required skill, knowledge and time. Spinning and weaving were thought virtuous, frugal occupations for Roman women of all classes.
    [Show full text]
  • What Is the Best Way to Begin Learning About Fashion, Trends, and Fashion Designers?
    ★ What is the best way to begin learning about fashion, trends, and fashion designers? Edit I know a bit, but not much. What are some ways to educate myself when it comes to fashion? Edit Comment • Share (1) • Options Follow Question Promote Question Related Questions • Fashion and Style : Apart from attending formal classes, what are some of the ways for someone interested in fashion designing to learn it as ... (continue) • Fashion and Style : How did the fashion trend of wearing white shoes/sneakers begin? • What's the best way of learning about the business behind the fashion industry? • Fashion and Style : What are the best ways for a new fashion designer to attract customers? • What are good ways to learn more about the fashion industry? More Related Questions Share Question Twitter Facebook LinkedIn Question Stats • Latest activity 11 Mar • This question has 1 monitor with 351833 topic followers. 4627 people have viewed this question. • 39 people are following this question. • 11 Answers Ask to Answer Yolanda Paez Charneco Add Bio • Make Anonymous Add your answer, or answer later. Kathryn Finney, "Oprah of the Internet" . One of the ... (more) 4 votes by Francisco Ceruti, Marie Stein, Unsah Malik, and Natasha Kazachenko Actually celebrities are usually the sign that a trend is nearing it's end and by the time most trends hit magazine like Vogue, they're on the way out. The best way to discover and follow fashion trends is to do one of three things: 1. Order a Subscription to Women's Wear Daily. This is the industry trade paper and has a lot of details on what's happen in fashion from both a trend and business level.
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V1_919 3/5/04 3:50 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V1_919 3/5/04 3:50 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 1: The Ancient1 World SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
    [Show full text]
  • The Appropriateness of Historic Costuming of Male Protagonists In
    THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA (Under the Direction of Patricia Hunt-Hurst) ABSTRACT Costuming functions as a tool to nonverbally communicate and manipulate visual identities, especially gender identity; applied to the costuming of characters in movies, the visual identity of a character is broadly amplified to the movie-going audience. The purpose of this study was to examine the costuming of male protagonists in historic epic movies for historical accuracy and how the era in which the movie was produced may have affected the level of accuracy. The Ten Commandments (1956) and Spartacus (1960) from the Cold War era and Gladiator (2000) and Troy (2004) from the turn of the millennia were viewed and comparatively analyzed in light of the American social dynamics of each era INDEX WORDS: historic costume, men’s wear, Ancient Egyptian costume, Ancient Greek costume, Ancient Roman costume, historic epic genre, movies, Cold War, post-World War II, America, turn of the millennia, gender dynamics THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA B.F.A., Brenau University, Women’s College, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2005 © 2005 Clarissa M. Esguerra All Rights Reserved THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA Major Professor: Patricia Hunt-Hurst Committee: April Allen Soyoung Kim Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2005 ACKNOWLEDGEMENTS I have experienced a substantial amount of intellectual and personal growth during my time in the Department of Textiles, Merchandising, and Interiors at the University of Georgia, and I credit much of this growth to my major advisor Dr.
    [Show full text]
  • (NRCE) Study Guide – Advanced Level
    National Roman Civilization Exam (NRCE) Study Guide – Advanced Level By Connor Harrison and José Molina This study guide is meant to be good approximation of the material needed to know for the NRCE exam. It is not meant to be fully comprehensive, but should cover most things that could be asked on the exam for Roman History and Roman Life. This guide is adapted from Connor Harrison’s Roman History Notes and José Molina’s Roman Life Notes. Please note that Ancient Geography, although asked on the NRCE, is not yet included in this version of the study guide. Ancient Geography includes, but is not limited to, directions to and from ancient locations, modern names of ancient cities (and vice versa), and names and destinations of ancient Roman roads. 1 Roman History By Connor Harrison MONARCHY (753-510 B.C.) 7 KINGS - Romulus o Lineage . Mother was Rhea Silvia, father was Mars (the God) Rhea Silvia was the daughter of Numitor, whose brother Amulius had stolen the throne of Alba Longa Romulus and his brother Remus were thrown into the Tiber River, recovered by a she-wolf, and raised by the shepard Faustulus The wife of Faustulus was Acca Larentia o Romulus and Remus . Romulus had a brother, Remus . There was a dispute over where the city would be settled, so Romulus settled the Palatine hill, Remus settled the Aventine hill . According to one account, Romulus is said to have seen 12 vultures while Remus was said to have seen 6, meaning Romulus had superior augury and had say over where the city should be .
    [Show full text]
  • Roman Clothing
    ROMAN CLOTHING citizen, matron, curule magistrate, emperor, general, workman, slave “Dress for a Roman often, if not primarily, signified rank, status, office, or authority. The dress worn by the participants in an official scene had legal connotations. The hierarchic, symbolic use of dress as a uniform or costume is part of Rome's legacy to Western civilization.” (Larissa Bonfante. "Introduction.” The World of Roman Costume. Ed. Judith Lynn Sebesta and Larissa Bonfante. University of Wisconsin Press, 1994. Pp. 5-6) I. Clothing and Status: Ancient Rome was very much a “face-to-face” society (actually more of an “in-your-face” society), and public display and recognition of status were an essential part of having status. Much of Roman clothing was designed to reveal the social status of its wearer, particularly for freeborn men. In typical Roman fashion, the more distinguished the wearer, the more his dress was distinctively marked, while the dress of the lowest classes was often not marked at all. In the above diagram, for example, we can deduce that the first man on the left is a Roman citizen (because he wears a toga) but is not an equestrian or senator (because he has no stripes on his tunic). We know that the woman is married because she wears a stola. Colored shoes and the broad stripes on his tunic identify the next man as a senator, while the border on his toga indicates that he has held at least one curule office. The laurel wreath on the head of the next man and his special robes indicate that he is an emperor, while the uniform and cloak of the following man identify him as a general.
    [Show full text]